Gothic Forms of Victorian Poetry

Inbunden, Engelska, 2022

Av Olivia Loksing Moy, City University of New York) Loksing Moy, Olivia (Assistant Professor of English

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A lonely damsel imprisoned within a castle or convent cell. The eavesdropping of a prisoner next door. The framed image of a woman with a sinister past. These familiar tropes from 1790s novels and tales exploded onto the English literary scene in 'low-brow' titles of Gothic romance. Surprisingly, however, they also re-emerged as features of major Victorian poems from the 1830s to 1870s. Such signature tropes inquisitional overhearing; female confinement and the damsel in distress; supernatural switches between living and dead bodies were transfigured into poetic forms that we recognise and teach today as canonically Victorian. The Gothic Forms of Victorian Poetry identifies a poetics of Gothic enclosure constitutive of high Victorian poetry that came to define key nineteenth-century poetic forms, from the dramatic monologue, to women's sonnet sequences and metasonnets, to Pre-Raphaelite picture poems.

Produktinformation

Utgivningsdatum2022-09-13
Mått156 x 234 x 23 mm
Vikt618 g
FormatInbunden
SpråkEngelska
SerieEdinburgh Critical Studies in Victorian Culture
Antal sidor320
FörlagEdinburgh University Press
ISBN9781474487177

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Introduction: Gothic Tropes to Poetic Forms: A Poetics of Gothic Enclosure1. Gothic Overhearing: Inquisition, Confession, and Accusation in Browning’s Dramatic Monologues2. The Gothic Poetess: Self-Confinement in the Sonnet Cell3. Gothic Shock and Swap: Suspended Bodies and Fluctuating Frames in D.G. Rossetti’s Double Works4. The Cloistered Cleric: Confessional, Confinement, and Hopkins’ Poetics of WaveringConclusion: Emily Brontë's Udolphics: The Gondal and Non-Gondal PoemsBibliography

Olivia Loksing Moy’s first monograph, The Gothic Forms of Victorian Poetry, is a vibrant and vital contribution to Victorian studies. [...] This book is highly recommended for anyone exploring the location of the Gothic in the Victorian era, as Moy successfully draws ‘lines of influence that reach across a continuous long nineteenth century,’ making it clear that the Gothic did not vanish after the 1790s only to be revived at the fin de siècle (p. 11). Rather, it contributed through its form to many canonical Victorian texts. Additionally, Moy’s references to the Gothic persisting in periodicals and annuals demonstrate that more attention still needs to be paid to the popular fiction of the period. A final triumph of this monograph’s approach is how it identifies a new method of analytical practice – the classification of Gothic forms – and demonstrates how this can be implemented.